Noname’s second studio album synthesizes everything that the firebrand rapper excels at.
A dramatically uneven concept album that demonstrates the rappers’ unwillingness to grow up.
The U.K. artist’s debut is a full-throated pop album with an eye on contemporary trends.
The film does a fine job of holding a mirror to the experience of therapeutic practice.
The duo’s second album is another flight of fancy that dazzles in its defiance of expectations.
The album is the work of a talented MC in search of the right tonal balance.
On her second album, the 20-year-old singer attempts to expand the aperture of her worldview.
It’s a serviceable enough pop effort, but much of the singer’s edges have been sanded away.
The album is a tight set of songs that display Max Clarke’s facility for songcraft.
The album’s music rattles and quakes in stark contrast with the singer’s studiously composed intellectual exercises.
The album’s laidback and unfussy arrangements underserve the artist’s anguished storytelling.
A refreshing assuredness permeates the entirety of the singer’s fourth album.
The album is an economical calling card and the sound of a band coming into their own.
While the album doesn’t necessarily break new ground for the band, it’s an exemplary display of what they do best.
The album doesn’t quite justify its runtime, but the rapper has the good sense to try out a series of different stylistic conceits.
The trio struggles to find a collective identity or creative method that complements their myriad talents.
The album implicitly and explicitly tangles with the question of where an artist as singular as Karin Dreijer can go from here.
The album sign-posts its themes and musical choices but lacks a coherent overall vision.
No matter the tempo or setting, the singer’s sophomore effort is fully aware of how the body can both entrap and liberate.
The album feels like an assemblage of enjoyable ingredients that doesn’t coalesce.